The Hugga Bunch (1985)

A young photographer's home is haunted by it's former residents.

1989: 64th and last year of the Showa era. A girl is kidnapped and killed. The unsolved case is called Case 64 ('rokuyon'). 2002: Yoshinobu Mikami, who was the detective in charge of the Case 64, moves as a Public Relations Officer in the Police Affairs Department. His relation with the reporters is conflicted and his own daughter is missing. The statute of limitations for the Case 64 will expire in one year. Then a kidnapping case, similar to the Case 64, takes place. The rift between the criminal investigation department and police administration department deepens. Mikami challenges the case as a public relations secretary.

The first theatrically release of the SD Gundam series. Contains two shorts, "The Storm-Calling School Festival" and "The Tale of the SD Warring States: The Chapter of the Violent Final Sky Castle".

A duo of Edgar Allan Poe adaptations about a greedy wife's attempt to embezzle her dying husband's fortune, and a sleazy reporter's adoption of a strange black cat.

Years after a tragic event unfolds, Noah finds his long lost childhood teddy bear. Shortly after finding it, Noah starts to realize that the bear has a mind of its own and offers him a dangerous choice that may have a devastating outcome.

Let’s get SICK’NING for the Holidays! RuPaul’s Drag Race legend Laganja Estanja is here for Hey Qween’s Very Green Christmas Special!

An unfortunate highschooler finds an ancient book that summons Allentown's deadliest maniacs back from the dead.

The Warring-States-Era SD Gundams are back to dispel evil spirits and an evil plot taking place in the ruins of Jaburo City.

When Marty's car is stolen, he sets out on a mission to find it; however, he soon realizes that the person who stole it is much more dangerous than he thinks.

People is a film shot behind closed doors in a workshop/house on the outskirts of Paris and features a dozen characters. It is based on an interweaving of scenes of moaning and sex. The house is the characters' common space, but the question of ownership is distended, they don't all inhabit it in the same way. As the sequences progress, we don't find the same characters but the same interdependent relationships. Through the alternation between lament and sexuality, physical and verbal communication are put on the same level. The film then deconstructs, through its repetitive structure, our relational myths.